Artists of the Pattern and Decoration movement expanded our perceptions around what is worthy of being called art.
Now, again — reacting to what seems like art’s relentless address of injustices, and news of the day — exhibitions reveal a populist engagement with work that has decided to be happy and make pretty.
Judy Ledgerwood discusses her exhibition Far From the Tree in the context of the 40th anniversary of the Pattern and Decoration movement.
One of the more promising avenues that postmodernism explored was to seek out the nether regions that modernism forgot.
The two coincidental exhibitions in New York, on the gallerists Ileana Sonnabend (1914–2007) at the Museum of Modern Art and Holly Solomon (1934–2002) at Mixed Greens, make for engaging historiography, selective histories within the established art narratives.
Zhang Huan’s new exhibition at Pace Gallery, his first since 2010, revels in the artist’s newfound love of lush dollops of creamy oil paint.
Allison Miller is a young abstract painter who lives in Los Angeles, a city of few pedestrians. It is a vast, sprawling circuitry of vehicles and traffic jams, of getting from one place to another in the shortest and most efficient manner. You can still find neighborhoods to live in, but you cannot walk very far. Poor people take the bus. Taxis need a GPS. Wandering is not permitted.